Albums and Singles/Video Reviews: November 2021

Albums and Singles/Video Reviews: November 2021

 Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Note that these reviews are alphabetical by first letter, and not listed in a “ratings” order.

Albums:

James Lee Stanley & Dan Navarro
All Wood and Led
www.allwoodandled.com
This release is just part of a series of covers of classic rock songs, where the “wood” represents acoustic guitars, which have included albums of material by the Rolling Stones and the Doors (both previously reviewed on this blog). As Navarro says, “With absolute respect and admiration, we chose not to simply duplicate the originals, but instead imagined, ‘What if Led Zeppelin had lived in Laurel Canyon in 1967 instead of England?’” The folkie soul in me is quite satisfied with the rocker part of this collection. While not a popular opinion, I was never a Zep fan, and honestly, a lot of this material is new to me for that reason, giving it some virgin ears. They nail such classics like the obvious “Stairway to Heaven,” “Whole Lotta Love” and “Dazed and Confused,” but they also do a stack of non-radio saturated numbers like “Good Times Bad Times” and “Hey Hey What Can I Do?” True to their word, they reinvent the songs to their own spirits and it works out incredibly well. The Doors was a pretty easy translation, and the Stones’ blues riffs fit quite well into the model, but Zep is more of a transition, but the hand-to-glove still works in surprisingly good ways, mainly due (in my opinion) to Zep’s use of Olde English melodies in rock form, such as “The Battle of Evermore.” If you are either a folk fan or a curiosity seeker, this may meet your needs on multiple levels.
Full sample song HERE 

 

Nine Pound Hammer
When the Sh*t Goes Down
www.acetate.com
As the sticker on my CD clearly states, “Original members Blaine Cartwright and Scott Luallen team up with Ramones Super-Producer Daniel Rey.” Who in my shoes could not have their curiosity piqued? Especially since I am not very familiar with the Kentucky cowpunk (their description) band. I must say, after most of my life being force-fed Southern Rock like Skynyrd with the occasional good stuff like Rank & File and Nashville Pussy (which shares Blaine as guitarist), this is so refreshing. From the opening, using a clip of Mel Blanc’s Foghorn Leghorn, you know they don’t take themselves too seriously (meant in attitude, not aptitude). Starting strong with “What Kind of God,” and especially the second, title cut, you can definitely hear the Rey influence as the sound is laid bare and stripped, though Cartwright’s guitar flairs brilliantly here and there. It’s almost like the Ramones zeitgeist if they listened to country rather than surf and girl groups. At gut-wrenching speed, most songs are quite short at about 2:30, with a couple being longer. Their mindset can be seen in titles like “Street Chicken,” “Mama Lied,” “Billy Lost His Feet,” “Get the Hell Off the Farm,” “Daviess Co Tractor Massacre,” and “Lizard Brain.” I know I haven’t gotten the full effect of the lyrics yet, but this one is so much fun and kicks so much butt, it will certainly be replayed, so I’ll get there and enjoy the ride. Just wish there was a lyric sheet included.
Full title cut can be heard HERE 

 

Yod Crewsy
The Longings of Paul Roalsvig
www.darkmarbles.com
Before he was in bands like the Splatcats, the Sky Cabin Boys, the Dark Marbles and the Bernie Kugel Experience, Yod was known by his birth name, Paul Roalsvig. This two-disc collection is split into a “Love” group and “Peace” selection. There are 31 cuts in total, being a mix of covers both infamous and obscure, and originals. Some of Buffalo’s musical royalty appear on here, such as Dave Meinzer, Russell Steinberg, and Cathy Carfagna. He starts off strong with Icehouse’s “Crazy,” which follows one of Yod’s personal favorites, the poppy theme to the film “That Thing That You Do!” Third cut in is when we get our first original, “I’ll Keep Sending You Flowers,” proving that Crewsy knows his way around creating both a melody and a strong lyric. Of course, I won’t be discussing all the cuts, but will pick and choose. His cover of the Stones’ “Dead Flowers” is almost projected through a folk lens which actually works quite well. More somewhat obscurities with Dylan’s bluesy “I Threw It All Away” and the Monkees’ “Sometime in the Morning,” and then a deep version of Orbison’s classic “In Dreams.” The more folk-oriented Peace disc starts off with one of my fave tunes, “Eve of Destruction”; here it is handled more folk pop leaning towards the Turtles cover rather than Barry McGuire, but the stanzas are intact. Included are masterful covers such as Dylan’s snarky “With God on Our Side” (banjo led), Nick Lowe’s “(What’s So Funny About) Peace, Love and Understanding,” and a raucous Five Man Electrical Band’s “Signs,” But the gem here is the back half of this second disc that is solid originals, including “Edie” (about Edie Sedgwick) and the timely ballad “When They Stormed the Capital.”
Full sample song HERE 

Singles:

Chesty Malone and the Slice ‘Em Ups
Turn to Crime
1332 Records / www.chestymalone.com/
Despite moving relatively recently to the hinterlands of Pennsylvania, CMatSEUs have lost none of their drive or appeal. The main focus is still vocalist Jacqueline Blownaparte and her partner in – er – crime, guitarist superb Anthony Begnal, with a new bassist and drummer. Their aggressive hardcore both brings reminiscence of the 1980s style of in-your-face madness with a touch of harmonies that do not fall into the wishy-washy ‘90s Green Day kind of fluff. What I especially like about the chorus is that it can be both chantable, and can be used in the fist pumping way to build up adrenaline for the mosh pit (or in lieu of it; I’m old enough to be a lieu of person, but I digress…). Possibly the best comparison would be the flavor/attitude of the Cramps mixed with the influence of the likes of GBH. This is just one side of their new single (7”-er, remember them?). This is some of the better post-hardcore sound I have heard in a while, and a high mark even for them, and they set the bar high.
Can be heard HERE 

 

The Dictators
“Let’s Get the Band Back Together”
2:25 minutes
Dictators Multi/Media
I have liked the Dictators (DFFD) since I heard their introductory album, and even more when I saw them live (CBGB in 1975) for the first of multiple times (including at The Bottom Line, The Left Bank, and Irving Plaza). Over the years, HDM got most of the attention, but I always thought that the songs Andy/Adny Shernoff voxed were amazing, as well. They had a style that was metal and could be juvenile at the same time, which was part of their charm. Songs were singalongs and often brilliantly silly (such as “Master Race Rock”), but they could also be profound (“Steppin’ Out”). Over the years through various incarnations of the band, they are back, with Andy on vocals and bass, ace metal guitarist and right winger Ross “The Boss” Friedman, Albert Bouchard (ex-Blue Oyster Cult) on drums, and for this recording, the recently late, great rhythm guitarist Scott “Top Ten” Kempner. This song feels, in tone, like it could fit somewhere between the first and second album. The “C’mon” in the chorus, sung by Manic Panic/Sic F*cks’ own Tish and Snooky Bellomo, is certainly chantable, layered with Andy’s New Yawk accent, sounds like fun. The phrasing of the song is a bit melodic rock, even with Ross’s solo burst, but with its occasional hint of early rock’n’roll on some parts, it is definitely an enjoyable listen. While I look forward to the full album, as an aside, after you have heard this Dictators’ song, it is also worth hearing an earlier, more pop solo Shernoff version of it from almost a decade ago HERE. 
Full song can be heard HERE 

 

Gary Louris
“Almost Home”
3:31 minutes
https://orcd.co/jumpforjoy
This travel song has a nice “hoo-hoo-hoo” chorus to sing along with, with it’s poppy and upbeat singer-songwriter tone. Of course, as should be, the rhythm is steady like the wheels of the car (truck?) humming along a highway, not too far from the final exit. Louris’ vocals fit the sound so well, and the video that accompanies it is arty without being obtuse. It’s as simple as the driving beat. Humorously, I wonder about the line “When I close my eyes, I see your face…” Err, aren’t you driving? Still, the chorus is extremely catchy possible earworm and a hoot. A good listen, but that should come as no surprise as he was in the seminal band The Jayhawks, and a founding member of “supergroup” Golden Smog.
Can be heard HERE 

Singles/Video Reviews: March 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Singles/Video Reviews: March 2021

Note that these reviews are alphabetical, not listed in a “ratings” order.

 

Adrian Younge
“Revolutionize”
Jazz is Dead
Younge takes a few different styles and successfully mixes them together. The song starts a bit like The First Poets, arguably the first – and I believe best – political rap groups, with sharp lyrics over atonal music. This flows into a 1970s style rhythm and sound of bands like the O’Jays, but with a sharper tone and a jazzy piano thrown in (amusingly ironic considering the name of the label that put this out). The lyrics the first part are a bit drowned out by the noise in the mix, but the message still comes through, especially on a second listen. This is the right time for this strong imagery by musician, composer, producer, and ex-Law Professor Younge, considering what is going on across America with the re-rise of a culture of hate of the “Other.”.
Can be heard HERE 

 

Amiture
“Touch”
Dots Per Inch Records
I hear a lot of people being nostalgic for the British-pop music of the 1980s. Most of that, I don’t understand. It was all synthetic beats, nonsense lyrics, and downer messaging. A lot of the videos, though, were pretty interesting (Human League’s “Don’t You Want Me,” for example). If you are one of those, you are going to love Jack Whitescarver’s output as much as I did not. Yes, I found the video stunning and odd, but the music is such a throwback to the ‘80s that I almost immediately glossed over and wanted to go turn on a garage band (perhaps the Tryfles or the Outta Place?) or some Heartbreakers (JT, not TP) to cleanse my palate. Please, if the ‘80s were your thing, you’re probably going to love this, and you should give a listen. It comes from their debut album, The Beach.
Can be heard HERE 

 

Arms of Kismet
“Potter’s Field”
Wampus Multimedia
I have been listening to AoK for a few releases now and have always enjoyed them. So, why should this be any different? The ballad here is light and airy in tone, with an almost dreamlike rock of the cradle in the breeze. It has a ‘60s garage tone, without the farfisa, relying on a triple time waltz of schmaltz. It’s not as zoned out as some meditation music, due to its razor sharpness buzz, but I found it soothing and quite beautiful. There is a lot thrown in there, from harmonious and soaring choruses to the electronic sounding reading near the end (apparently, it is taken from the final comments of Louis XVI as he was to be executed). Definitely worth a listen if you like garage influences with a modern car in the structure.-
Can be heard HERE 

 

Ashley Monroe
“Drive”
Mountainrose Sparrow/Thirty Tigers
Off her fifth studio album, Rosegold, this single is a bit confusing to me. Hailing from Nashville, the video looks like it would be a nice country pop song, but the music itself is merely a modern, overproduced pop ballad. It brings nothing new to the table. Don’t get me wrong, Monroe has a good voice, as far as I can tell; I have no idea if it is autotuned, but this is the kind of sound (not that ridiculous T. Pain electronic tone) I find with a lot of modern recordings, which I try to avoid as much as possible. Being off her nearly half-dozenth full release, I am going to assume she has a following, and my opinion hopefully will not matter a hill of beans, but this is the kind of material that lead to why I stopped listening to country. If this is the style of material she is releasing, I don’t need to hear more, but wish her well.
Can be heard HERE 

 

Haunted Shed
“Umami Bomb”
Strolling Bones Records
Athens, GA, has always been a den of quirky musicians, from R.E.M. and Pylon to Love Tractor. Haunted Shed, led by Etienne de Rocher, certainly has an unusual, almost electronic psychedelic sound. In fact, they remind me of a more modernized version of bands that came off of the International Artists label in Texas, especially like Red Krayola’s The Parable of Arable Land: a lot of noisy sounds with electronic eccentricities and standard instruments as well, with a high studio magic. The video is as odd as the music, which is apparently about food, but the lyrics are extremely hard to make out. This isn’t casual composition you can necessarily dance to, but it is nicely subversive while still keeping some rhythmic elements to it. I must say, by the time the video ended, I was definitely getting into it all.
Can be heard HERE 

 

Manolo Redondo
“Try”
Violette Records
Redondo is from the Alps, but lives in Paris. Despite that he sings in perfect English for those who feel more comfortable. He has a casual, singer-songwriter style, with just a whiff of a pop feel (in this case a good thing). Written as an aftermath of road trips in places like Paris, Mexico and the Mojave Desert, his tunes are poetic soundtracks to movement and life, as well as, indicated by the title, trying your best. It has a sweet tone with an almost melancholy underbelly of hopefulness. This is from his EP, The Lost and Found.
Can be heard HERE 

 

Mason Lively
“Happy Home”
www.masonlively.com/
From the slide guitar in the opening musical phrase, there is no question that this is deep cowboy-boots-Stetson-hat country. At a slow ballad pace and a nice classic nasal twang, Lively keeps up the tradition of a 1980s stye before it gave way to a pop influence. Lively presents us with a marital (or at least co-habitation) break-up with a blues riff and soaring chorus to give us a tale of heartbreak. Like I said, classic country. Luckily, he’s got the chops for it. Personally, I kinda stop listening to country in the 1980s when it developed a pop fusion, but this harkening back makes me reminiscent for some good ol’ boys (and girls) sitting around with gee-tars, howling at the moon in love pangs. Don’t read this wrong, it is a powerful song that belies a sound that is both a throwback and with a new twist, with a bridge that echoes a bit like it came off a Jim Croce record. This is from his eponymous second album.
Can be heard HERE 

 

Megan Wyler
“The Calling”
Nowever Records
This is Megan Wyler’s first release in seven years, having started a family and focusing in on that. Her voice is superb in this liquid ballad about “a kind of dark exploration around the disorientation of loss and where that takes you,” she has said. There is a strong rhythm that flows though the song with her voice lilting over it, moving up and down the scale smoothly. The tone reminds me of the style of Claudine Longet (sans accent), with a slight whisper, but the song builds to a surprising and stirring climax with Matt Sweeney’s guitar swelling and a bit dissonant as a counterpoint to the sorrowful sound up till then. It’s a beautiful piece.
Can be heard HERE 

 

Sloping
“Raft”
Sound as Language
From the album Completed Songs, JJ Posway (Scooterbabe) presents a singer-songwriter introspective and moody ballad piece with acoustic guitar for melody and overdubs for harmony. I have listened to a couple of other songs off the album, and this the better one. Light and airy, with more than a hint of navel-gazing, Posway slides through the song on a field of gloss, like skating on a pond under the moonlight. The song is very listenable, with a twinkle in the eye. If I got it right, the song is about not wanting his partner to feel bad if he dies (unless I misheard the soft-spoken lyrics), but even with the slow pace, it is not moribund.
Can be heard HERE 

 

Tom Jones
“No Hole in My Head”
S-Curve Records/BMG
He may be getting’ up there (a couple of songs from his new album, Surrounded By Time, include “I’m Growing Old” and “Lazarus Man”), but even after all these years, Jones does not fail to both surprise and stretch as an artist to make himself relevant. Taking cues from his acting career (remember how great he was in 1996’s Mars Attacks!), the video sets him up to confront some authority figure as he rocks out while fronted by a sitar. The song and the video show defiance, anger, and positing that, well, Tom’s the man. I love the chorus of “There’s no hole in my head / Too bad!). It’s all about personhood and the willingness to stand up for yourself. Best Jones song I’ve heard in a while. The album also sounds interesting, which includes covers by Dylan (“One More Cup of Coffee”), Cat Stevens (“Popstar”) and the classic “Windmills of Your Mind.”
Can be heard HERE 

Music Reviews: January 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Music Reviews: January 2021
Note that these reviews are alphabetical, not listed in a “ratings” order.

 

Ben Sutin Quartet
Hard Bop Hanukkah: Live @ Rockwood Music Hall
www.MEIIenterprises.com
www.bensutinmusic.com
Hard bop, a subgenre of bop jazz, was fomented by the likes of Miles Davis and Coltrane. It is wild and a bit musically asymmetrical, relying more on sharps/flats and a tempo of its own and often changing nature. The opening of the six cuts, “Have a Little Dreidel,” shows exactly what is expected right off the – er – spin. Ben Sutin, who leads the Quartet, is the arranger and violinist, who tends to play at the high end of the instrument. He is met evenly by Sam Javitch’s piano. They are backed by Cole Davis on bass and Evan Sherman’s drums. But it is the violin and piano that are out front on this live recording in one of my favorite spaces to hear non-punk/rock music in New York, Rockwood Music Hall, down on the LES of NYC. The third song, “Neroit Dolkim,” has the bones of Klezmer (which I thoroughly enjoy). Sutin’s modified V-necked electric violin gives him access to the very high ends of the strings, while Javitch uses his piano for both melody and part of the rhythm section simultaneously. “Sevivon, Sov, Sov, Sov” (translated as “Dreidel, Spin, Spin, Spin), the longest cut on the release, gives the rhythm section a chance to solo in smatterings. This may sound blasphemous, but parts of “Maoz Tzur” (or “Ma’oz Tzur” aka “Strong Rock”), from the 13th Century, sounds like it could be off Vince Guaraldi’s Charlie Brown Christmas album (I am saying that in a positive way, as that is the only Xmas record I can tolerate). The musicianship is superb, as would have to be to play in this style, and the Quartet go full force. As with many jazz styles, the songs are all instrumentals, and tend to average around 6 minutes, but they do both swing and bop. Might be good to get this now and have it ready for the next time Hanukkah rolls around.

Cro-Mags
2020
Mission Two Entertainment
The Cro-Mags are to hardcore what the Ramones were to the first wave of punk. These New Yorkers blazed a trail that was picked up by a disenfranchised youth into a movement of fury, anger, and moshing. In fact, Cro-Mags founder Harley Flanagan was the first mosher I ever saw when he was still with the Stimulators in the early 1980s, at a Siouxsie and the Banshees show at Irving Plaza. The Cro-Mags called it quit for a few decades, and now have come back with the second release this year, in this six-song opus that lasts, yep, 20 minutes and 20 seconds. Needless to say, it covers the topics of the year, including COVID-19 and street rioting. Starting off strong, the band wails with “Quarantine,” which leads pretty strongly with Garry “G-Man” Sullivan on bass, and Rocky George on Greg Ginn/J. Mascis-ish lead shred guitar (note that George used to be with Suicidal Tendencies). As with the rest of the songs – “2020,” “Life on Earth,” “Violence and Destruction,” “Chaos in the Streets,” and the instrumental “Confusion,” there is an atonal element that pounds and works, even with the chant-worthy choruses such as with “Life on Earth.” There’s even a bit of New Agey reverb used on occasion, such as the beginning of “Violence and Destruction,” before it descends into hardcore madness.  Despite the screechy, amazing guitarwork by George, parring with Gabby Abularach on rhythm, the songs are more rhythm focused on top of almost No Wave-inspired hardcore with Flanagan (bass) giving some thrash metal growl lyrics. Honestly, without a lyric sheet, I couldn’t make out what they were saying, but the songs stand up, especially “Chaos in the Street,” which is more traditional hardcore, and is by far my fave here. It concludes with a bit of just a part of an in-studio freestyle jam. The Cro-Mags have not lost their edge and deserve a listen.

 

Jordan Rabinowitz
A Couple Songs
@jordanrabinowitz
For years, Rochester, NY native/Washington, DC-based Rabinowitz has bounced around the music scene playing bass with other groups before settling down and working on his own material. He has now released a five song EP (available on YouTube HERE).  His songs feel like light, singer-songwriter style, but actually are kind of dark, talking about break-ups, love ending, and leaving. Jordan’s voice is pleasant without being same-old-same-old, with a hint of pitchiness that works for him. Note that the songs are fully backed by a band in which sometimes the feel of the song gets a bit mired in a way that would not happen if he were a solo-performer, but that’s the nature of the beast in today’s studio-produced world. It’s a good listen, though, and for a debut record, the songs are well written and performed.

 

Rockower
It’s Alright But It’s Never Enough
Mark Rockower Music
Great name for the band; fortunate that the center of it has this appellation. Mark Rockower is on vox, guitar and synthesizer (and songwriting), Derek Hughes plays bass, backed mostly by Jax Bowers on drums. But essentially, this is a two-man outfit, even recording it in Hughes studio (garage? basement?). This harmonious (i.e., overdubs of Rockower’s vocals) almost pop rock has all the hallmark sounds of a demo. Now, to be fair, a demo sound is so much more preferred by us aficionados than the cold, overproduced music mostly found on the radio today. It reminds me of the likes of The Nerves (who originally sang “Hanging on the Telephone”). The amateurishness (of the sound, not the playing ability) is refreshing and enjoyable, starting right off with the upbeat “American Dope.” Each song going forward is a bit different, but the overdubbing is pretty consistent, though I believe it should be used more sparingly, such as on choruses; overdubbing vocals also make it harder to hear the lyrics. “The Other Side” sounds a bit more garage from the late ‘60s, or possibly less formulaic than the early ‘80s. As the CD plays on, it definitely grew on me more. Sure, “Simple Minds” is a bit of filler, but they make up for it with the very next up-beat poppy number, “Lunar Star.” For a miss, like “Vacation Girl,” a synth noise mess, there are others that are worth the listen, like (again) the following cut, “Driving Force” and the title number, which closes out the 10-song disc. Basically, the entire zeitgeist is about American culture in the here and now, which makes it an interesting timepiece. I definitely liked it more on the second listen.  Weirdly, the biggest mistake is not printing the name of the band or CD on the disc proper, rather than just an image. Good way to get the disc lost.

 

TASTE
Brothers Vol 1
Melodicrock Records
Taste-music.com
TASTE is a “legendary” rock group from Down Under which originally formed in the 1970s, but I am not sure I have ever heard of them before, as this kind of ‘70s rock (they are often compared to the likes of Queen and 10cc) that never held my attention. But this is a new 5-song EP. It starts off with a kiss-off to a “horrible year” with “2020’s Gone.” It’s a power ballad celebrating the coming of a new year and hopefully new – err – hope. The production level is high, but it has a catchy and flamboyant chorus. Its follow-up “Hello Hello” is almost more rock power pop, which feels stuck in the ‘70s reminding me more of REO Speedwagon than Queen. Lots of harmonies, especially on the choruses. Ken Murdoch’s vocals are not traditionally rock tenor-and-above rock screeching, but rather it’s quite pleasant. He is well backed by Joey Armenta on guitar, Michael Tortoni on bass, and Damian Corniola on drums. “(We All) Stand Up” is a ballad paced bit of a corny and cliché rock with lyrics that are a bit insipid; what would at one time may be called “filler.” It’s follow-ups are live (or live in studio) versions of their previous songs, “Rock is Dead”  and “I Don’t Wanna Be Like You,” which are a bit better as rockers with the band getting to exercise a bit more of its instrumental prowess (including an extended drum solo on “Rock,” and clocking in at over six minutes). “I Don’t,” which is more guitar-focused, has an Aerosmith feel during their prime. Note that all proceeds go to benefit Beyond Blue, to help those affected by anxiety, depression, and suicide. A noble cause, indeed.

 

CD Reviews: November 2020

Text © Robert Barry Francos / FFanzeen, 2020
Images from the Internet

CD Reviews: November 2020

Dalia Davis
Keep a Clean Engine
Teal Power Records / daliadavismusic@gmail.com
Davis is a Boston-area veteran singer-songwriter who has released this collection of mostly original multi-genre tunes. When she sings, what she brings up to me is the solo singers from Britain during the 1960s, like Celia Black, Lulu, and a bit of Dusty Springfield. This is especially true for her cover of the standard, “When Sunny Gets Blue,” which is a highlight here, with its lite jazz tones. For some reason, this comes across to me, especially on the bridges. Speaking of which, one of my fave cuts is “Beatles Bridges,” which is exactly what it claims to be, a bunch of bridges from Beatles classics into a bluesy, mostly cohesive song, even though the content is all over the emotional map. She starts of strong with “The Power of One,” sliding into the gospel-tinged “Don’t Give Up the Fight.” The harmony vocals enhance the sounds nicely as they are right up front, often equal to Davis. The title track is a nice, almost Jacque Brel-ish type melody that swirls around the sound, without going dark. Another highlight is the gospel and doo-wop infused “Wash Away.”

 

Jack Phillips
Night and Day
Magnolia Group Records
Jack has a nice musical sound that is somewhere between Billy Joel and Elton John, as in the opening original “I Love New York,” mixed with a bit of New Orleans jazz, especially on the likes of “The Old Grey Hat,” and maybe even some soft Southern Rock with “No One’s Home.” The second half of the CD (aka “the flip side”) is mostly jazz/standard sounding, such as “Let’s Drink to Us” and “Take Them to Manhattan.” A more commercial rockin’ sound is given in “No More Waitin’,” one of the better cuts here. The album concludes with a I-IV-V instrumental that relies on a ragin’ guitar by Caleb Quaye on “Down in the Jungle Room” (assuming that’s a Graceland reference). Phillips’ voice is a bit rough at times, but it is unique and actually works really well with the styles he brings forward, which I would say is a highly boogie, almost Cajun-focused sound, with a deep southern tone. It’s an enjoyable listen, especially when he gets his soft jazz boots on.

Various
The Boston Rock & Roll Anthology Chapter 21
Valrulven / joeviglione.com
Joe Viglione has been putting out compilation albums, generally for bands coming out of the Boston/New England area (although this one is more far reaching), for decades, in various forms, such as his Anthology and The Demos that Got the Deal series. And with this, his documenting rock’n’roll history continues. The 21 tracks start off with heavy rocking duo (guitar and drums) 3D that originated in the 1980s (not to be confused with New York’s 3-D from the same period), with the anti-drug song, “Anything But Peace.” Pamela Ruby Russell’s first cut, “Space and Time,” has almost a hymnal tone with a military-paced back beat that works together beautifully. Her voice is sweet and the overdubbing with itself works, to give it a powerful punch; her second cut shows off her voice even more. Here she has a Judy Collins intonation, which really operates for her. The production is also quite enjoyable, being full without feeling over-kneaded. Working with the likes of Peter Calo and Andy Pratt certainly give her an extra zing. Karmacar – Heidi Jo Hines and Nico’s “As It Is” has a bit of a 1970s New Agey feel to it, though I believe it would have been stronger without the self-overdubbing and just let Heidi’s voice be by itself; their other cut on the CD, “Who’s Foolin’ Who?”, gives a better example of her voice, and is superior of the two, with a catchy melody and improves on the catchy harmonies. On a more esoteric note is the next two cuts – “Downtime” by the Complaints and “Faraday” by Phil DaRosa – which use a bit more electronica to posit their songs, especially the latter, which is kind of long in the tooth at nearly 6 minutes. The former has a mild Beatleseque tone. Kitoto Sunshine Love spreads the smooth ‘70s soul sound in the beautiful “Proud Soul Heritage.” Worth checking out; her second track, “Love You,” is equally as strong and arguably shows off her voice even more than the first cut, which was thoroughly enjoyable. Yeah, I would buy an album by her. Fittingly, Slapback follows with its lite funk “Guardian Angel (Radio Mix)” that is cheerful and fluffy in a good way. Hard rockers Empty County Band have been reviewed on this blog before. Their first track, “Until the End,” is a slow grinder and burner, but the vocals need to be a bit more up front in the mix; “Skeptical” is much stronger all around and a better listen, but both are good. Joe Black leads a guitar-centric metal group that wails with “Blackenstein.” If you like the guitar god sound, this mostly instrumental screamer is for you; for “Monster,” Black is joined on vocals by Jeffrey Baker. This cut is a more traditional rocker that switches between slow burner to a wild ride, which should please any metalhead. The lyrics are a bit silly (especially the chorus), but the guitar makes up for it. Tom Mitch, Jr.’s soulful “Table Scraps” reminds me a bit of Joe Tex, which is a compliment. Harmonious pop rockers Greg Walsh’s New Ghosts presents “Counting Down to Zero (From 1),” which has a late ‘60s sound mixed with early ‘80s echoey production styles. Mad Painter’s exuberant “The Letter” (not to be confused with the Box Tops song) has a bit of a Mod sound mixed with Ian Whitcomb’s bounciness, especially in Alex Gitlan’s vocals. As a note, a personal fave of mine from the Boston scene, my pal Kenne Highland, plays bass. Next up – and rightfully so – is a cut by the man himself, Joe Viglione, with his original “Thought About You.” Backed up by Jay and Scott Couper (who played with Denny Laine in the ‘80s), Joe presents one of the better songs I’ve heard from him in a while (and I like his stuff). It’s light without being sophomoric, and has a harmonious catch that could easily play on the radio and have people singing the chorus with him. Following is Boston musical veteran Dalia Davis, with “Eleven and a Half.” Reminding me of Harriet Shock here, Davis shines in a song about reminiscences. Fire in the Field’s “Bossman,” has a bit of an ‘80s rock sound that works, but somewhat harmless and generic, with harmonies and a cowbell sound. Concluding is “The Ballad of the Rock Star,” by Matty O’. This is a nice way to end, with a smooth Irish rock sound that fits well into the collection. Matty gets a couple of opportunities to show off his voice, which is appealing. Overall? This is a pretty damn decent collection of different styles, from singer-songwriter to heavy metal wailing, and it all works together. You can tell Viglione worked hard on the order of presentation of the songs, and he has a nice flow going so there isn’t an equivalent of a film’s jump cut. Everything flows pretty smoothly, and as a collection, it all meshes well. And if that wasn't enough, there is a really well thought-out glossy booklet that comes with it that is full of artist and song info and nice color pictures. Stunningly done.

CD Reviews: Summer 2020

Text © Robert Barry Francos / FFanzeen, 2020
Images from the Internet

 

Arms of Kismet
Ballast and Bromides
Wampus Multimedia
wampus.com
This group is definitely a child of the modern era. Members of the band recorded their parts where they lived, in Virginia, Maryland and Kent, UK, and it was all put together in a studio in VA. They all circle around singer-songwriter Mark Doyon who literally takes the listener on a journey. The overriding theme of the song collection is traveling and transportation, from “Cali, USA” (“Specious Claims”) to “Zanzibar,” to Canada in “True North.” Within the songs is a sense of longing and confusion about what is going on in the world today, and the off-centeredness of our lives. News flashes, and views from below the Mason-Dixon, as Doyon sees and questions the state of the State of the Union, as well as the world. The songs are filled with electronic sounds without being too much electronica-based, giving us a pop-rock with intelligent lyrics, such as “Now I awaken in the house of the Lord / And I’m standing at the altar / And as I get my marching orders / Don’t let me falter” (from “Found”) and “Stumble to the subway / Newspaper in hand / I’m scanning the headlines / But there’s nothing all that grand / Just someone’s losses / And someone’s gains…” (from “Be There”). Doyon has a fine tenor, John Lennon-ish voice (especially on “Soul in a Sling”), that mixes art with pop, and gets his message across seamlessly, without needing to rely on dissonance and noise, despite the electronics.

 

Audioscam
#Kicking and Screaming
audioscam.com.au
Truly, I do not understand why this band is not played on the radio more, which spins the likes of Rupert Holmes and Stephen Bishop nearly constantly. Audioscam’s music is catchy, non-threatening, and fine at a party of MOR-minded company. The Australian band has been around for a bit over 10 years now, at least, and they have nailed their sound. The harmonies with drummer Brian Pitcher’s high-end vocals, and Wayne Macintosh’s guitar up front is some fun near pop (not Top 10 pop, but perhaps from around 1975). As I implied earlier, this band is definitely radio-friendly, and they should be played on Adult Contemporary MOR stations more. This is closer to an EP than an LP, but that’s what many of Audioscam’s releases tend to be, and I’m cool with that.

 

bluerace
Mistral
facebook.com/blueraceband
What, you’re saying you miss the Fillmore sound, East or West? Well, this East Coast band has just what you’re looking for, but more. Not that drudgey, druggy, overly oppressive sound like Blue Cheer as rock’n’roll turned to rock, but a more pre-progressive sound with just a bit of pop left in and without the pretentions of the likes of ELP. Guitar fronted with Roger Diller taking lead and vocalist Thom Gencarelli backing him up on rhythm, they switch on an off on wah bars, but mostly it’s straightforward, and for that I’m grateful. Vic Marcado is the main rhythm section on drums, with various bassists filling in. The song lyrics are smart (no surprise to me at all), and not just about sex and love (though there are the likes of the ballad “Stop My Heart” where Thom shows off some keyboard chops) or whining songs, they are life and the world around us. Even a little a bit of philosophy, such as the catchy opener “Either/Or.” There is little to chant along with, as this is a bit more “adult” than that, but you might find more than one of the melodies and choruses getting stuck in your head as Thom lays it out. That’s not to say there isn’t some really well done harmonies, such as with “Secrets of the World” and “More Than I Love.” This fits somewhere after Sgt. Pepper’s and before Woodstock. It’s a nice, clean sound. Lyric sheet included.

 

The Dark Marbles
Back to the Garage!
darkmarbles.com
Yod Crewsy is a Buffalo, NY musical legend, with his feet firmly in the garage past of bands like the Splatcats. His recent group is the Dark Marbles, who have been around for a while now. His latest release is 21 songs covering 1 hr and 17 minutes, with balls-to-walls covers of great garage sounds, from old to (relatively) recent. Most of them are his interpretations of the songs, making them his own. There’s some poppish fun like Tommy Roe’s “Dizzy,” which is slower and with more wah-wah and echo, for example. Another is a dark, bass-ey and smoking vocal on the Monkees’ “(I’m Not Your) Rollin’ Stone,” which is rich in minor chords and vocal overdubs. Of course, there are some garage classics, all with an original zing, such as the Electric Prunes’ “Too Much Too Dream Last Night,” the Standells’ “Sometimes Good Guys Don’t Wear White,” and one of my all-time faves, the Bad Seeds’ “Taste of the Same.” There are also some nice and odd choices, such as the Only Ones’ “Another Girl, Another Planet,” the Plimsouls’ “Oldest Story in the World,” the Velvet Underground’s “Femme Fatale,” Billy Burnette’s dark-made-darker “Are You With Me Baby?” in which Yod takes out the rockabilly motif, and a slippery version of the Flamin’ Groovies’ “Shake Some Action” that falls in the middle of the original band’s two version. All the cuts are interesting visions of Yod’s readings that are worth a listen.

 

D.O.A.
Treason
Sudden Death Records
suddendeath.ca
D.O.A. have been going strong since hardcore began and are arguably the Canadian band in this genre. I’ve seen them twice in the last 10 years, and they blew me away both times. If you’re looking for the definition of Canadian punk, you really don’t need to go much further (though exploring is good). D.O.A. leans heavily on the side of the political, and the nastier the government, especially in the US, the sharper the band gets lyrically and musically. “Fuck Ronnie” has become “Fucked Up Trump,” for example. D.O.A. has found that sweet spot that so many bands try for and fail, falling on either side of the equation: singer Joey “Shithead” Keithley is the driving vocal force, but there is just enough harmonious chanting to involve the listener if they so choose. Many bands lose power by being too sing-along, like Green Day, and others just slam at you. D.O.A. keeps it balanced, with such examples as “Wait for Tomorrow” and “Just Got Back From the USA.” They sound so much bigger than their power trio affords, but having seen them, it’s not just studio magic, they really are that strong. My only quibble is because the songs are meaningful, I would have liked a lyric sheet, even though they’re clearer than most hardcore bands I’ve heard. The songs are usually under three minutes, and sharper than a razor, even their one cover of Neil Young’s “Hey Hey, My My,” which they’ve added a whole lotta umph and made their own. Not a clinker here.

 

The Shangs
Golden Hits of the Shangs
Judigee! Records
theshangs.ca
Back in the early ‘70s, before even Teenage Head, the Hamilton/Toronto scene were visited by a band called Simply Saucer, who took what would now be called art/psych/proto-punk and gave it an early voice. From the band came multi-instrumentalist/multi-dimensional David Byers to form the Shangs’ with other musical innovator Ed O’Neill in 1989. Well, in 2019, they recorded this long player of their songs. The vocals, overall, have kind of a soft, almost childlike Jan and Dean harmony through a strong reverb or muted filter, with soft, almost ambient music behind them through the use of both standard instruments and electronica. The music, itself, I would almost equate to the sounds of being in a forest and listening to the raindrops rebounding off the petals, only it’s electronic. It’s actually quite lovely, if you are looking for something to wind down with or have on in the background, like those totally cool ambient records you could buy in the 1960s that usually had a woman in a bikini on the cover against a plain, one-color background. Many of the songs are dedicated to obscurity, such as the tap dancing child in the 1975 film The Day of the Locust, the late and underrated actor Carol Wayne, the sad ending of Elizabeth Hartman in the 1965 film A Patch of Blue (the song “Patch of Blue” here is one of my faves on the disc), misunderstood singer Claudine Longet (I have about a half dozen of her LPs, just sayin’), and tragic silent actor Peggy Entwistle. This is solid art rock, set at the pace of Orchestral Manoeuvres in the Dark’s “Somnambulist,” though a bit more dissonant and surprisingly upbeat, in an ambient way. The songs tend to be over 4 minutes long, and can take you away to another outlook. You may not be moshing to this, but you may find yourself getting an aural massage.

 

Waterslide
Flicker EP
Wampus Multimedia
wampus.com
I’m not sure if this is Mark Doyon’s post Arms of Kismet group, or a side project, but he definitely picks up where he left off, but with some interesting touches, especially with using Adam “Ditch” Kurtz’s steel guitar to punch up “Grand Mal.” The vocals are reverbed with some nice overdubbed mostly self-harmonies, such as on the excellent “Brownout,” a strong cut, which (like “Grand Mal”) discusses working under stressful situations, in this case as an EMT. “Soar in Place” is a decent song, but uses a bit more electronica than I care for, but that’s just me. My fave cut is the finale, “When They Make the Movie,” a romantic ballad that looks at an imagined film made on the singer’s relationship. Overall, it’s a very pleasant listen.